arth sec8 fall18 - nikkiarnell.net · the bauhaus has proven enormously influential for the...

10/7/18

1

ARTH 3573 HISTORY OF GRAPHIC DESIGN

CONTINUED >> 7 | introduction to modernism

Direct quotes and paraphrasing pulled from Meggs and largely from Stephen J. Eskilson, Graphic Design: A New History, Yale University Press, 2007.

Modernism }  Modern Art Overview and Influence

}  Art Nouveau }  Frank Lloyd Wright - America }  The Four (The Glasgow School) - Scotland }  Vienna Secession – Austria (Austro-Hungarian Empire) }  Werkbund & Peter Behrens - Germany }  Pictorial Modernism & Art Deco }  Constructivism – Russia, Germany }  DeStijl – Netherlands }  Suprematism - Russia }  Bauhaus - Germany

Piet Mondrian, Composition with Red, Yellow, and Blue, 1922

Vilmos Huszar, cover design for De Stijl, 1917

} October 1917, Theo von Doesburg began publishing (mostly in Dutch)

}  Allowed artists to promote their art and ideology to wider audience

}  1917-32: established as consistent vehicle to discuss and critique European avant garde

Theo von Doesburg, cover for De Stijl, 1922

De Stijl (via van Doesburg)

} Art into everyday via architecture, product design, and graphic design


} Art into everyday via architecture, product design, and graphic design } Art would not be relegated to the

level of everyday object


} Art into everyday via architecture, product design, and graphic design } Art would not be relegated to the

level of everyday object } Everyday object would be elevated

to the level of art

Theo von Doesburg; The Cow (serial numbered compositions); pencil on paper to oil on canvas, 1916-17

10/7/18

2

Constructivism Henrik Berlewi, Plutos Chocolates brochure, p. 6, 1925

Ladislav Sutnar, cover for Getting Married, 1929 Gerritt Rietveld, The Schroeder House, Utrecht, 1924

De Stijl tried to create the ultimate design object that would reflect the universality and perfection of simple geometric forms.

Gerrit Rietveld, Red-Blue Chair, 1917

Google Shopping search: “DeStijl chair” Laszlo Moholy-Nagy, title spread for i10, 1927

10/7/18

3

“At the time, these artists believe that there was something like a kind of totally unifiable humankind, all of whom would respond to simple, geometric forms in exactly the same way and these could therefore be meaningful.”

} Visionary prototype for a new world order } Unification of social and human values,

technology }  Visual form became a goal for those

who strove for a new architecture and graphic design


}  Art Nouveau }  Frank Lloyd Wright - America }  The Four (The Glasgow School) - Scotland }  Vienna Secession – Austria (Austro-Hungarian Empire) }  Werkbund & Peter Behrens - Germany }  Pictorial Modernism & Art Deco }  Constructivism – Russia, Germany }  DeStijl – Netherlands }  Suprematism - Russia }  Bauhaus - Germany

Suprematism }  Art movement that focused on basic geometric forms,

such as circles, squares, lines, and rectangles, painted in a limited range of colors.

}  Founded around 1913 in Russia by Kazimir Malevich. }  The term suprematism refers to an abstract art based

upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.

Suprematism }  “Heavily influenced by avant-garde poets, and an emerging

movement in literary criticism, Malevich derived his interest in flouting the rules of language, in defying reason. He believed that there were only delicate links between words or signs and the objects they denote, and from this he saw the possibilities for a totally abstract art.

}  And just as the poets and literary critics were interested in what constituted literature, Malevich came to be intrigued by the search for art's barest essentials. It was a radical and experimental project that at times came close to a strange mysticism…

https://www.theartstory.org/movement-suprematism.htm

Suprematism }  “The Suprematists' interest in abstraction was fired by a

search for the 'zero degree' of painting, the point beyond which the medium could not go without ceasing to be art.

}  This encouraged the use of very simple motifs, since they best articulated the shape and flat surface of the canvases on which they were painted. (Ultimately, the square, circle, and cross became the group's favorite motifs.)

}  It also encouraged many Suprematists to emphasize the surface texture of the paint on canvas, this texture being another essential quality of the medium of painting.”

https://www.theartstory.org/movement-suprematism.htm

Suprematism }  Wassily Kandinsky considered a Suprematist painter. }  El Lissitzky considered part of both Suprematist and

Constructivist movements.

Kandinsky, “Yellow, Red, Blue”, 1925 El Lissitzky, “Proun 19D”, 1920-21


}  Art Nouveau }  Frank Lloyd Wright - America }  The Four (The Glasgow School) - Scotland }  Vienna Secession – Austria (Austro-Hungarian Empire) }  Werkbund & Peter Behrens - Germany }  Pictorial Modernism & Art Deco }  Constructivism – Russia, Germany }  DeStijl - Netherlands }  Bauhaus - Germany

ARTH 3573 HISTORY OF GRAPHIC DESIGN

8 | bauhaus; the new typography & 20th century type

Direct quotes and paraphrasing pulled from Meggs and largely from Stephen J. Eskilson, Graphic Design: A New History, Yale University Press, 2007.

10/7/18

4

specifically1919-1933

J ^^^ If you Google “Bauhaus”, do not confuse the German design school with the 1980s goth band Bauhaus

https://www.youtube.com/watch?v=ZQa0BajKB4Q

Ingredients to Bauhaus formation

}  Aftermath of WW1 }  Formation of the Weimar Republic

Also in existence 1919-1933

}  German Expressionism }  Arbeitstrat für Kunst (Workers’ Council for Art) }  Constructivism (later influence)





German Expressionism

}  Bauhaus will eventually be intertwined with Constructivism. The “Bauhaus Style” legacy displays this.

}  But first, German Expressionism was a big influence to its formation and instructors.

10/7/18

5

German Expressionism }  Many of the German Expressionist artists had served in the

military during WWI. }  Those who survived from the experience were

disillusioned, depressed, sometimes maimed and often shell-shocked. The Germany to which they returned was a country overwhelmed with major economic, social, and political problems.

}  The final blow to an already shaky economy was the signing of the Treaty of Versailles in 1919, which cost Germany massive amounts in reparation for the costs of the war. It also took some its land to form the new countries of Poland and Czechoslovakia.

German Expressionism

}  The artistic movement was in many ways a reaction to the conservative social values that continued at the turn of the 20th century.

}  Expressionist artists rejected the stale traditions of the state-sponsored art academies and turned to boldly simplified or distorted forms and exaggerated, sometimes clashing colors.

}  Directness, frankness, and a desire to startle the viewer characterize Expressionism in its various branches and arrangements.

Scene from The Cabinet of Dr. Caligari, 1920

Scene from The Cabinet of Dr. Caligari, 1920 Scene from Nosferatu, 1922 J ^^^ Music video for 1980s goth band Bauhaus about a major character in Dracula





Arbeitstrat für Kunst }  Workers’ Council for Art }  Played an important role in articulating the role of artists

and designers in rebuilding German society after WWI. }  Held strong utopian beliefs, and many hoped that a new

society would be built on Marxist principles of equality and justice.

Max Pechstein, Arbeitrat für Kunst Berlin, 1919

10/7/18

6

Arbeitstrat für Kunst }  Membership made up of artists and critics from a variety

of fields, though dominated by architects }  Leadership transferred to Walter Gropius in 1919

}  Away from political action and more to a building plan to serve as a center for social and cultural regeneration of Germany

}  ^^ Echoes Expressionist views: a pervasive belief that Germany could be the site of a dramatic, if unspecified, social and even spiritual reform

Arbeitstrat für Kunst }  Group folded under violence and turmoil of post-war era,

but 2 important themes for Gropius continued: }  The visual arts could play an instrumental role in the

building of a new society }  That architecture must assume a leadership role in the

arts because it afforded the opportunity for the greatest aesthetic and social impact





Dada and Constructivists }  Dada }  The Constructivists’ concept of the artist as engineer had

a number of parallels in Dada, whose members rejected taking on the role of fine artist because of its association with conventional aesthetics.

}  “Photomontage” originated with Berlin Dada }  “assemblers” }  Both Constructivists and Dadaists viewed photomontage to

serve as a tool of social activism }  Both felt that abstraction, by definition, could only

communicate ideas in a limited fashion and that is was necessary to reference the Real World in order to convey their critical beliefs.

Raoul Hausmann, ABCD, 1923 Gustav Klutzes, Postcard for the Spartakiada (All-Union Olympiad) in Moscow, 1928

Dada Constructivist International Constructivism > just “Constructivism”

}  An influx of Russian emigrés in the early 20s to Germany (including El Lissitzky) created a critical mass of artists interested in exploring Constructivist principles.

}  Less political in nature than Russian Constructivism, which was based in communist ideology

Bauhaus OVERVIEW

} German design school }  1919-1933

Bauhaus OVERVIEW

} German design school }  1919-1933 } Weimar

(1919-24) } Dessau

(1925-32) } Berlin

(1932-33)

2018 borders

10/7/18

7

Bauhaus OVERVIEW

} German design school }  1919-1933 } NO DISTINCTION between fine arts and

applied visual arts }  Furniture }  Architecture }  Product design }  Graphics

}  Published books and had deals with local industry

Bauhaus OVERVIEW: Key Ideas }  “The motivations behind the creation of the Bauhaus lay

in the 19th century, in anxieties about the soullessness of manufacturing and its products, and in fears about art's loss of purpose in society. Creativity and manufacturing were drifting apart, and the Bauhaus aimed to unite them once again, rejuvenating design for everyday life.” }  Similar to the ideology of the

Arts & Crafts Movement }  (+other movements in reaction to Industrial Age)

http://www.theartstory.org/movement-bauhaus.htm

Bauhaus OVERVIEW: Key Ideas }  “Although the Bauhaus abandoned much of the ethos of

the old academic tradition of fine art education, it maintained a stress on intellectual and theoretical pursuits, and linked these to an emphasis on practical skills, crafts and techniques that was more reminiscent of the medieval guild system. Fine art and craft were brought together with the goal of problem solving for a modern industrial society. In so doing, the Bauhaus effectively leveled the old hierarchy of the arts, placing crafts on par with fine arts such as sculpture and painting, and paving the way for many of the ideas that have inspired artists [in the early 21st century].”


Bauhaus OVERVIEW: Key Ideas }  “The stress on experimentation and problem solving at

the Bauhaus has proven enormously influential for the approaches to education in the arts. It has led to the 'fine arts' being rethought as the 'visual arts', and art considered less as an adjunct of the humanities, like literature or history, and more as a kind of research science.”


Bauhaus OVERVIEW: Key Ideas

} Craftsmanship vs. Mass Production }  Arts & Crafts lineage

}  Practical purpose of formal beauty in commonplace object }  Art breathe “life” into the dead soul of the machine

}  Relationship of Usefulness and Beauty }  Form Follow Function }  Less is More

} Could a single proper form exist? }  A Universal Language of Form

Bauhaus Overview: the parts usually left out

}  The role of women }  Political backgrounds of instructors


}  Women were – for the most part – relegated to the textiles department even after Weimar Constitution had stipulated women were no longer excluded from publicly funded institutions AND after director Walter Gropius initially embraced this doctrine

}  Only to the craft-oriented workshops of textiles, bookbinding (not open for long) and pottery (kicked out by male professor)

}  One exception: Marianne Brandt (1893-1983), an important part of the metal workshop, photographer, and negotiator of contracts with local industries


}  The role of women }  Political backgrounds of instructors

10/7/18

8


}  The political background of many of the faculty in a politically-charged time in Europe’s history

} Many came from Russia with a communist (or, at least, Marxist) hope for a new utopian society


}  Political climate of the Bauhaus harbored one central contradiction: }  The simultaneous embrace of Communist ideology

and the adoration of the capitalist industries that stood as icons of the modern machine age.

}  But a shared vision of a technological utopia

Bauhaus Overview: Staff

} Henry van de Velde* }  Johannes Itten } Walter Gropius }  Paul Klee } Wassily Kandinsky } Herbert Bayer }  Theo von Doesburg }  László Moholy-Nagy }  plus many others }  including influential visitors like El Lissitzky

Already mentioned in either this or the previous lecture

10/7/18

9

Bauhaus Overview: Curriculum

}  Combined elements of fine arts and design education }  Students who came from diverse range of social and

educational backgrounds

}  PRELIMINARY COURSE: }  Immersed students in the study of materials, color theory,

and formal relationships in preparation for more specialized studies.

}  All of this reinforcing the original claims of Gropius’s Bauhaus Manifesto (1919)

“Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as ‘art by profession’. There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the work of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design…”

Bauhaus Manifesto, 1919, Walter Gropius

“…So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavored to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come.”

Bauhaus Manifesto, 1919, Walter Gropius


}  Students then entered specialized workshops, which included metalworking, cabinetmaking, weaving, pottery, typography, and wall painting.

}  The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer.

https://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm


}  At the Bauhaus, typography was conceived as both an empirical means of communication and an artistic expression, with visual clarity stressed above all.

}  Concurrently, typography later became increasingly connected to corporate identity and advertising. The promotional materials prepared for the Bauhaus at the workshop, with their use of sans serif typefaces and the incorporation of photography as a key graphic element, served as visual symbols of the avant-garde institution.

https://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm

Forming Bauhaus

}  April 1919 in Weimar town of Germany }  Walter Gropius established an educational

institution that brought to fruition some of the ideas that had originated with the Arts and Crafts movement mixed with Arbeistrat für Kunst principles.

Forming Bauhaus

}  Merged with Saxony’s school of the fine arts, Kuntstschule, which had a school of APPLIED ARTS: Kunstgewerbeschule }  Gropius could collapse the conventional

hierarchy between fine and applied arts }  Hoped that the new combined schools would

complement each other, with the aesthetic theory of the fine arts dialectically interwoven with the empirical knowledge of the practitioners of the applied arts

Forming Bauhaus

}  At the time, the Kunstgewerbeschule run by Henry van de Velde (Belgium designer)

}  He recommended Gropius when he (Velde) was dismissed because of his foreign nationality

Bauhaus in Weimar (1919-24)

}  Gropius named new institution “Staatliches Bauhaus” (National House of Building)

}  Intended to call to mind the guilds of craftsmen } Gropius had been part of Werkbund, wanting to

design new, functional architecture for the modern industrial world, BUT…

} The trauma of the war drove him (and many other Werkbund members) to hunger for what they felt was a more spiritually authentic medieval past

10/7/18

10


}  Fairly quickly, Gropius reverted back to the machine aesthetic and dropped the medieval nostalgia

}  But by that time, the faculty at the Bauhaus had already been filled with a number of spiritually-minded Expressionists

Lyonel Feininger, Cathedral, 1919, woodcut: Title Page for Programm des Staachlichen Bauhauses im Weimer

“Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.” -Programm des Staachlichen Bauhauses im Weimer

Johannes Itten, The Encounter,1916

Johannes Itten. Colour Sphere in 7 Light Values and 12 Tones,1921 at Weimar Bauhaus

Preliminary Course (Itten)

} Goals: }  To develop understanding of the physical

nature of materials }  To release each student’s individual creativity }  Via fundamental principles of design underlying

all visual art }  Emphasis on:

} Visual contrasts } Old Master paintings

Johannes Itten, Self-Portrait, 1920, Photograph


} Typography }  At the time of the Bauhaus’s founding, the

institution was forced to confront the dispute in Germany over the relative merits of Blackletter vs. Roman letter.

}  As part of their utopian belief in a universal design style, Bauhaus graphic artists focused on the latter as they did not want to associate the school with German nationalist sentiment. Blackletter, also known as Gothic script, Gothic minuscule,

or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century.

Oskar Schlemmer, Utopia, watercolor, silver, gold, bronze over drawing in ink, 1921

10/7/18

11

Lyonel Feininger, New European Graphics 1922, Lithograph poster


} De Stijl and Constructivism take over }  By 1922, the overarching Bauhaus emphasis on human

intuition and Expressionism evidenced by the prominent roles of faculty members Itten, Klee, and Wassily Kandinsky led to criticism by other members who followed the progressive avant-garde, especially followers of DeStijl.

Wassily Kandinsky, Composition VIII, 1923, oil on canvas Suprematist painting


} De Stijl and Constructivism take over }  DeStijl leader Theo van Doesburg to Weimar late 1921 }  Offered a series of lectures explaining the rational,

geometric principles of DeStijl and Constructivism. }  Found a receptive audience among Bauhaus student

body and faculty members who were not comfortable with the Expressionist ethos.

}  In 1923, under the influence of DeStijl and Russian Constructivism, the Bauhaus moved toward a curriculum that emphasized functionalism and a machine aesthetic based on reductive geometric attraction.

constructivism

de stijl

(suprematism) Bauhaus in Weimar (1919-24)

} László Moholy-Nagy }  Hungarian artist who had moved to Berlin

in 1921 }  In Germany, had become acquainted with

van Doesburg and Lissitzky, absorbing Constructivist ideals

}  Hired the same year Itten left, so Moholy-Nagy took over and rebuilt the preliminary course } Assisted by Josef Albers

Preliminary Course (Moholy-Nagy)

}  Focus shifted away from idiosyncratic spiritual values and toward a logical analysis of form

}  Promoted Constructivist principles } Major importance: understanding new materials

such as Plexiglass and steel

Preliminary Course (Moholy-Nagy)

}  Exercises designed by M-N became legendary for the way in which they enabled students to master the fundamentals of Constructivist technique }  Students were taught to use the tools of the

engineer – the compass and straight-edged ruler – in place of freehand drawing techniques

}  The concept of artist turned engineer also resonates with the widespread adoption in Germany after the war of the principles of scientific management of industrial processes.

}  Man-Machine hybrid an ideal Lazlo Moholy-Nagy, watercolour

10/7/18

12

Laszlo Moholy-Nagy

} Constructivist } Experimented with many new materials

Lazlo Moholy-Nagy, Photogram, 1922

Laszlo Moholy-Nagy

} Constructivist }  Experimented with many new materials } Great figurehead for PR purposes

Lazlo Moholy-Nagy, proposed title page for Broom, 1923 Lazlo Moholy-Nagy, typophoto poster for tires, 1923

Laszlo Moholy-Nagy }  “Designing is not a profession but an attitude.

Design has many connotations. It is the organization of materials and processes in the most productive way, in a harmonious balance of all elements necessary for a certain function. It is the integration of technological, social, and economical requirements, biological necessities, and the psychological effects of materials, shape, color, volume and space. [Design is] thinking in relationships.”

Bauhaus in Weimar (1919-24): Exhibition of 1923

}  Thuringian* State Government had provided funding since 1919

}  Insisted that Bauhaus have a major exhibition to demonstrate accomplishment }  Intended goal of humiliating the school

*Thuringia: German state where the city of Weimar was (and still is)

Fritz Schleifer, Bauhaus Ausstelung, July-Sept 1923, Lithographic poster Joost Schmidt, Bauhaus Exhibition Poster, 1923

10/7/18

13

Herbert Bayer, Bauhaus-Ausstellung, Weimar, 1923


}  Thuringian State Government had provided funding since 1919

}  Insisted that Bauhaus have a major exhibition to demonstrate accomplishment }  Intended goal of humiliating the school } Attended by over 15,000 people }  Internationally acclaimed


} Gropius had the opportunity to display the school’s new post-Expressionist functionalist identity

}  Theme: “Art and technology, a new unity: technology does not need art, but art does need technology.”

}  Turn the Bauhaus back to the machine aesthetic and the Deutscher Werkbund goal of providing high-quality designs for the modern world.


László Moholy-Nagy, logo for Bauhaus Press, 1923


}  László Moholy-Nagy }  Established an expanded sans serif as the typographic

standard at the school }  Adamant that all typography must emphasize clarity

over any other element, rejecting whimsical Expressionism.

}  Like all aspects of the curriculum, he felt that each and every art form was to be evaluated primarily on its ability to perform its most basic task effectively


}  Political Problems }  It was very important to the future of the school in the

face of government hostility to portray geometric abstraction, either in architecture or any other medium, as devoid of political content.

}  Especially important to divorce the Bauhaus from Communism and revolutionary politics of Russian Constructivism }  (Even if many faculty were still very much against the bourgeois-

dominated Weimar Republic and actually hoped their abstract work could bring some sort of revolution in Germany)

}  Gropius abruptly announced the closure of the Weimar Bauhaus in December of 1924.


}  Political Problems }  It was very important to the future of the school in the

face of government hostility to portray geometric abstraction, either in architecture or any other medium, as devoid of political content.

}  Especially important to divorce the Bauhaus from Communism and revolutionary politics of Russian Constructivism }  (Even if many faculty were still very much against the bourgeois-

dominated Weimar Republic and actually hoped their abstract work could bring some sort of revolution in Germany)

}  Gropius abruptly announced the closure of the Weimar Bauhaus in December of 1924.

Bauhaus in Dessau (1925-1932)

}  1924-5 } Director, masters resigned }  Students followed

}  1925 } Move to small provincial town of Dessau } Work began immediately in temporary facilities

}  1926 } New building complex } Curriculum reorganized

Bauhaus in Dessau, Germany

10/7/18

14

Bauhaus in Dessau, Germany Herbert Bayer, Invitation to the inauguration of the Bauhaus building for December 4-5 1926, letterpress


} Bauhaus magazine and series of 14 Bauhausbucher books }  Important for spreading advanced ideas about art

theory and its application to architecture and design


} Bauhaus Corporation: business created to handle the sale of workshop prototypes to industry }  Product design }  Steel furniture }  Functional architecture }  Environmental designs }  Typography

Bauhaus in Dessau (1925-1932): New Professors/Masters

}  Josef Albers }  Taught systematic preliminary course

investigating the constructive qualities of materials

} Marcel Breuer }  Head of furniture workshop }  Invented tubular-style furniture

} Herbert Bayer }  Professor of newly added typography and

graphic design workshop







Breuer's Wassily Chair (1927-28)







10/7/18

15

Herbert Bayer, self-portrait

“Bauhaus Style” (Herbert Bayer : strong influence)

}  Innovations along functional and constructivist lines

}  Extreme contrasts of type size and weight } Bars, rules, points, squares used to

subdivide space, unify diverse elements, lead viewers eye through page

}  Elementary forms and use of black with one bright hue were favored

} Dynamic composition with strong horizontals and verticals (some diagonals)

}  Sans serif fonts used almost exclusively Herbert Bayer, design for a kiosk and display boards

Herbert Bayer, Invitation to the inauguration of the Bauhaus building for December 4-5 1926, letterpress Herbert Bayer, Kandinsky, 1926, letterpress and gravure

Bauhaus Typography

}  Sans serif preferred because: }  The only type capable of expressing the spirit

of the machine age (geometric forms were increasingly viewed as an instrument of logical planning)

}  Lacked any nationalist associations (unlike Blackletter/Textura), so it could serve as a unifying force in the post-war era

}  Its simple clarity and impersonal character were the best match for photography

“Bauhaus Style” (Herbert Bayer : strong influence)

lowercase sans serif fonts used almost exclusively. why is there a rule to begin all sentences with a capital letter? in fact…

Herbert Bayer, Universal typeface design, 1925 Herbert Bayer, Universal typeface design, 1925

lowercase only }  universal face reduced alphabet to

clear, simple, rationally constructed forms, which was consistent with gropius’s advocacy of form following function

}  bayer omitted capital letters arguing that 2 alphabets (lower and capital) are incompatible in design with 2 totally different signs expressing the same spoken sound

}  he also theorized substantial savings for printing industry

10/7/18

16

Herbert Bayer, Universal typeface design, 1925

lowercase only

}  this is especially scandalous because german rules of capitalization are much more important than other european languages.

}  nouns in german are capitalized. }  to not use capitals = very “un-german”

http://germanforenglishspeakers.com/basics/capitalization-and-punctuation/

Herbert Bayer, brochure cover for series of 14 Bauhaus books, 1929 Herbert Bayer, The Lonely Metropolitan, 1932

Bauhaus Final Years

Joost Schmidt, Bauhaus magazine cover, 1928

Bauhaus Final Years

} Nazis } Dominated Dessau City Council }  1932 - Cancelled Bauhaus faculty contracts

}  Bauhaus attempt to operate out of empty telephone factory in Berlin-Steglitz

}  10 Aug 1933 – faculty voted to dissolve the Bauhaus with a notice that faculty available to students for consultation if needed

Bauhaus Final Years

}  Emigrate to America } Gropius and Marcel Breuer }  Taught architecture at Harvard University

} Moholy-Nagy } Established The New Bauhaus in Chicago

(now The Institute of Design at The Illinois Institute of Technology)

The Bauhaus Legacy }  “The Bauhaus accomplishments and influences

transcend its 14-year life, 33 faculty members, and about 1,250 students. It created a viable, modern design movement spanning architecture, product design, and visual communication. A modernist approach to visual education was developed, and the faculty’s class-preparation and teaching methods made a major contribution to visual theory. In dissolving fine and applied art boundaries, the Bauhaus tried to bring art into a close relationship with life by way of design, which was seen as a vehicle for social change and cultural revitalization.” -Meggs

10/7/18

17

arth sec8 fall18 - nikkiarnell.net · the bauhaus has proven enormously influential for the...

Documents